Two brothers on their way to success in New York’s crazy art scene: The one who is Josh Jacobs (Eion Bailey), an abstract painter and the secret star – no, rather the cash cow of its gallery owner Madeleine Gray (Marley Shelton). The other, Adrian Jacobs (Adam Goldberg, who has also co-produced the film) is a composer for new (and very atonal) music with chains leitmotif tin pails, shrill cry – and pretty inaudible. Regular basis, the few hearers to flee from his concerts. Adrian seems not – at least disrupt the outside – to. Two art-loving but uncomprehending ladies on his music and the lack of harmony is addressed, Adrian replied, harmonies, a capitalist conspiracy, were to be able to sell more pianos. And yet we learn that the sound artist as much misunderstanding but nahegeht. In a conversation with his brother, he gives himself three years. “And then you find yourself a real job?” Asks Josh. “No, I’ll kill myself,” Adrian replied, unmoved.

But it all comes differently gallerist Josh is in fact inspired by Adrian’s talent (which they pretty lone), and decides to bring out the composer really big. At the same time, the two begin an affair, of course, Josh mitbekommt nothing. But also has other worries: He wants to be of a high earning Backroom artist, whose paintings are so smart to make the walls of doctors’ offices and law firms to arrivistes Frontroom painter who gets exhibitions and can judge the critics and will. But Madeleine has Parade other horses in the stable, such as the style similar to artist Damien Hirst Ray Barko (Vinnie Jones), or the uptight Minimalkünstler Monroe (Ptolemy Slocum), which ensure that the gallery gets enough publicity. When Josh defends against his shadowy existence and Adrian ending affair with Madeleine, to develop the complicated relationship and a rapid momentum dependence Braids …

For all the fun, makes this film at first glance: really new about the New York art scene white (Untitled) to mediate difficult. That is, rather, as we have always imagined – a collection of vain and zwangsneurosengeplagten artists, gallery owners crafty, unsuspecting collectors, investors and / or one or other of the pure soul, the more or less by accident in this vanity fair is. In an industry in which to keep all geniuses, masters of high art rarely encountered, it is about the quest for ever-new, a market that wants to be constantly fed with new works, because he (of course) works just like the large economy. Remarkable about this analysis is primarily one thing – the perfect hiding the current crisis, which has taken in addition to the Normalwirtschaft also the art market with full force. It is still in (Untitled) a lot of money in the game. And more than once you will feel more like the 1990s or the days of the new economy in mind when artists such as Jeff Koons or Damien Hirst achieved absurdly high prices.

For all horseplay, there is at least a little moment of magic with modern music (in addition to the successful and not atonal soundtrack): When Adrian mark) of an amazing concert in honor of the sound artist Morton Cabot (a virtuoso Ben Hammer Composition of the musician hears him is his mouth open in amazement. Whether he learns something from this lesson, answered the film but not until the very end. Given the figures that come all (except Adrian’s brother, Josh, perhaps) on the spot and develop little, would be a change, a lesson, almost a miracle.

So much fun some good one-liner to make the film too, in the end it remains a fragile feeling: Is modern art and modern music really so far away from the people that they only good for half-baked jokes? Any artist is nothing more than compulsive neurotics and all the gallery Geldgeil and calculating business? There are more than the essence of art really say nothing more than an accumulation of cliches and banalities? If this were really so, we could confidently turn away from modern art and now enjoy ourselves exclusively to the old, acknowledged masters.

The Israeli satirist Ephraim Kishon, who) with Picasso’s sweet revenge (# a written as well as biting satire on the modern rough knitted art and who knew that the regulars of the world combined on its side, this film will have its bright joy. For many others, but the joy of (Untitled) is a rather ambiguous pleasure. Modern art would be nearly as cheap as many a joke in this film that would be smooth in the temptation to become active also as a collector.
(Joachim Kurz)

Title: (Untitled) Country of production: USA Year of production: 2009 Length: 96 (Min)

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